Category Archives: Burlesque

Welcome again to the glittering excitement that is the announcement of this year’s annual Chrisparkle Awards. The whole team has diligently assessed each and every eligible performance (i.e. I’ve thought hard about them) to create longlists then shortlists and then finally the ultimate prize for some splendid practitioners of their arts. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 11th January 2018 to 7th January 2019.

Are you all sitting comfortably?

The first award is for Best Dance Production (Contemporary and Classical)

Last year the Committee decided to combine all the dance productions seen in the year, both at the Edinburgh Fringe and in other theatres, and this year we have decided to continue this practice. That gives us seven shows to consider, and it’s been remarkably difficult to come to a conclusion, but we have.

In 3rd place, the two hilarious and skilful programmes that made up the triumphant return of Les Ballets Trockadero de Monte Carlo (The Trocks to you and me) at the Peacock Theatre, London, in September.

In 2nd place, the immaculate and riveting performances of the dancers from the Richard Alston Dance Company at the Royal and Derngate, Northampton, in October.

In 1st place, never failing to hit the mark on technique, emotion and sheer entertainment, Matthew Bourne’s Swan Lake at Sadler’s Wells, London, in December.

Classical Music Concert of the Year.

We only managed five classical concerts in 2018 but the quality was, as usual, excellent, so it was extremely difficult to whittle it down to a top three. Nevertheless, the Committee insisted, so here goes:

In 3rd place, Alan Buribayev Conducts Chopin, with an exciting programme of Czech, Polish and Finnish music including Chopin’s Piano Concerto No 2 in F Minor played by Alexander Romanovsky, and the Royal Philharmonic Orchestra, at the Royal and Derngate, Northampton, in April.

In 2nd place, Michael Petrov Performs Tchaikovsky, including a magical performance of Mendelssohn’s Symphony No 4 in A Major, and Michael Petrov giving us a spellbinding performance of Tchaikovsky’s Variations on a Rococo Theme, with the Royal Philharmonic Orchestra conducted by Rory Macdonald, at the Royal and Derngate, in February.

In 1st place, A Night at the Ballet, a superb programme of ballet music including Delibes’ Sylvia Suite and Saint-Saens’ Danse Macabre, with Nathan Fifield conducting the Royal Philharmonic Orchestra, at the Royal and Derngate, in June. A clean sweep for the RPO!

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Very few contenders this year, and it looks remarkably like last year’s awards, but here’s the top three:

In 3rd place, the unstoppable Damian Williams starring in Peter Pan at the Lyceum Theatre in Sheffield in January 2019.

In 2nd place, the humour-enhanced reincarnation of the Burlesque Show at the Royal and Derngate, Northampton in January 2018.

In 1st place, the utter filth and pure showbiz hilarity of Snow White at the London Palladium in December.

Best Star Standup of the Year.

Eight big-name stand-up comics qualify for this year, and it’s very difficult to judge because they were all excellent in their own way, so I can only rank them in the order that I enjoyed their show. I only listed a top three last year but this time I need a top five:

In 5th place, the beautifully constructed and thought provoking Choose Your Battles tour from Lucy Porter, Underground at the Royal and Derngate, Northampton, in April.

In 4th place, the fearless use of a range of awkward subjects brilliantly mixed up by Paul Chowdhry in his Live Innit tour, at the Royal and Derngate, Northampton, in March.

In 3rd place, the quirkily intellectual and extremely clever Total Eclipse of Descartes tour by Rob Newman, at the Royal and Derngate, Northampton, in November.

In 2nd place, and the winner of last year’s best Screaming Blue stand-up, the sheer delight of Daliso Chaponda and his What The African Said tour, at the Royal and Derngate, Northampton, in February.

In 1st place, on unbeatable form, the fantastic Devil May Care tour by Marcus Brigstocke, at the Royal and Derngate in October.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

It’s been a great year of Screaming Blue Murder nights; a longlist of seventeen comics brought forward a shortlist of seven and here are the top five:

In 5th place, hilarious and outrageous as always, Robert White (28th September)

In 4th place, for his ability to invest a room with such sheer happiness, Jonny Awsum (13th April)

In 2nd place, a new name to me and a superb talent with refreshing material, Stefano Paolini (12th October)

In 1st place, again, a first timer at Screaming Blue (I believe) but what a gifted way of weaving comedy magic out of some tough material, Sean Meo (14th September)

Last year, the Committee introduced a new category; as we continue to see so many stand-up comedy acts in other clubs, such as the Leicester Comedy Festival, Bluelight Comedy, Upfront Comedy Shows and Edinburgh Try-outs in various locations, here’s the Best of the Rest Stand-up Award. Again, a long longlist of nineteen was whittled down to a shortlist of ten, and here’s the top five:

In 5th place, the sheer professionalism and endless inventiveness of Patrick Monahan, in the Edinburgh Try-out of his show, Goals, at the Comedy Crate Festival, Black Prince, Northampton in July.

In 4th place, the fantastic delivery and fresh material of Drew Fraser (Upfront Comedy) at the Royal and Derngate, Northampton, in November.

In 2nd place, the fantastic comedy character creation that is Barbara Nice (Upfront Comedy Slam) at the Royal and Derngate, Northampton, in February.

In 1st place, a solid gold discovery of great confident delivery and material, Kane Brown (Upfront Comedy Slam) at the Royal and Derngate, Northampton, in February.

Best Musical.

I saw seventeen musicals this year, and only – perhaps – three weren’t really up to scratch. So that meant it was a tough choice to come up with a top five. But I did it!

In 5th place, and still very fresh in the memory, the superb production of Kiss Me Kate at the Crucible Theatre, Sheffield, in January 2019.

In 4th place, the invigorating and hugely emotional revival of Barnum, at the Menier Chocolate Factory, London, in February.

In 3rd place, the stunningly technological revival of Chess at the London Coliseum that we saw in May.

In 2nd place, the visually and musically overpowering experience that is the new look Les Miserables, at the Curve Theatre Leicester, in November.

In 1st place, believe the hype, it simply blew us both away; Hamilton at the Victoria Palace Theatre, London in December.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. I’ve seen 14 such plays this year; one of which we left at the interval, but most of the rest were very good indeed. Here’s my top five:

In 5th place, Alan Bennett’s quirky, funny and sad examination of the current state of the NHS in Allelujah, at the Bridge Theatre, London in July.

In 4th place, the very challenging and in many ways absolutely bonkers A Very Very Very Dark Matter, at the Bridge Theatre, London, in October.

In 3rd place, a production which most other people didn’t seem to appreciate but I thought was masterful in so many ways, Kiss of the Spider Woman at the Menier Chocolate Factory, London, in March.

In 2nd place, the abstract, fanciful, and totally adorable, Flying Lovers of Vitebsk, at the Royal and Derngate, Northampton, in April.

In 1st place, the heart-stopping, tragic, hilarious and exciting The Lovely Bones, at the Royal and Derngate, Northampton, in October.

Best Revival of a Play.

I saw twenty revivals, the majority of which were absolute smashers. Eight made the shortlist; here’s the top five:

In 5th place, the immaculate characterisation and brilliantly realised humour of The Merry Wives of Windsor by the RSC in Stratford in August.

In 4th place, the powerful performances and clarity of story-telling of Timon of Athens, by the RSC in Stratford in December.

In 3rd place, the brilliantly clever updating of Tartuffe by the RSC in Stratford in September.

In 2nd place, the eye-opening and redefining version of Hamlet by the RSC touring to the Royal and Derngate, Northampton, in February.

In 1st place, the fabulously funny and joyful revival of The Fantastic Follies of Mrs Rich, by the RSC in Stratford in April.

A clean sweep for the RSC is pretty amazing! However, as always, in the post-Christmas season, time to consider the turkey of the year – and my biggest disappointment was the tedious and generally pointless production of Macbeth, also by the RSC in Stratford in April.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 20 plays in Edinburgh, and here are the top 5:

In 5th place, the individual tour-de-force of and by Alison Skilbeck in Are There More of You? (Assembly Hall)

In 4th place, another gripping solo performance in Fear No Colours’ Tonight with Donny Stixx (The Space @ Jury’s Inn)

In 3rd place, the very funny and beautifully written Gayface, written by Chet Wilson (The Space on North Bridge)

In 2nd place, the anarchic and hilarious Holy Sh*t by Jack Fairhurst (Paradise in the Vault)

In 1st place, the play that had us in stitches for the first 75% and then tears for the rest of it, Sheffield University Theatre Company’s incredible My Mate Dave Died by Mike Alexander (Greenside @ Infirmary Street)

Best Individual Performance in a Play – Edinburgh

As always, a really hard one to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top three:

This year’s Edinburgh turkey, which was so awful we had to walk out at a convenient break (along with the majority of the audience), was Hillary’s Kitchen (The Space @ Surgeon’s Hall)

Best Local Production

This would normally include the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections. However, of these groups, I only saw productions by the University students, so they sweep the board!

In 5th place, the 2018-19 3rd Year Students’ production of A Christmas Carol at the Isham Dark Studio in December.

In 4th place, Ytho’s production of O,FFS that they took to Edinburgh, but which I saw at the University in October.

In 3rd place, from the Flash Festival, Blue Shift Theatre’s production of Deciding What to do with Dad.

In 2nd place, again from the Flash Festival, Open Eye Theatre’s production of Drained.

In 1st place, the 2017-18 3rd Year Students’ production of Accused at St Peter’s Church in February.

Best Performance by an Actress in a Musical.

Time to get personal. Here are the top five, they were all fantastic in their own way:

In 5th place, Sharon Rose as Eliza Hamilton in Hamilton at the Victoria palace, London, in December.

In 4th place, Alexandra Burke as Svetlana in Chess at the London Coliseum in May.

In 3rd place, Rebecca Lock as Lilli/Katherine in Kiss Me Kate at the Crucible Theatre Sheffield in January 2019.

In 2nd place, Laura Pitt-Pulford as Charity in Barnum at the Menier Chocolate Factory, London in February.

In 1st place, Caroline Quentin as the Duchess of Hareford in Me and My Girl at the Festival Theatre, Chichester in August.

Best Performance by an Actor in a Musical.

Nine performances in the shortlist, producing this top five:

In 5th place, Ash Hunter as Alexander Hamilton in Hamilton at the Victoria Palace, London, in December.

In 4th place, Killian Donnelly as Jean Valjean in Les Miserables at the Curve Theatre Leicester, in November.

In 3rd place, Tim Howar as Freddie in Chess at the London Coliseum in May.

In 2nd place, Dom Hartley-Harris as George Washington in Hamilton at the Victoria Palace, London, in December.

In 1st place, Callum Francis as Lola in Kinky Boots at the Royal and Derngate, Northampton, in September.

Best Performance by an Actress in a Play.

Fourteen in the rather long shortlist, but here’s the top five:

In 5th place, Penelope Keith as Mrs St Maugham in The Chalk Garden, at the Festival Theatre, Chichester, in June.

In 4th place, Sophie Stanton as Mrs Rich in The Fantastic Follies of Mrs Rich, at the Swan Theatre, Stratford-upon-Avon, in April.

In 3rd place, Zoe Wanamaker as Meg in The Birthday Party at the Harold Pinter Theatre, London, in February.

In 2nd place, Kathryn Turner as Timon in Timon of Athens, at the Swan Theatre, Stratford-upon-Avon in December.

In 1st place, Christine Beaumont as Susie in The Lovely Bones at the Royal and Derngate, Northampton, in September.

Best Performance by an Actor in a Play.

Another long shortlist, with eighteen contenders in my shortlist, but here is the top five:

In 5th place, a short appearance, but what a masterclass, Sir Antony Sher as Nicolas in One for the Road, part of Pinter One, at the Harold Pinter Theatre, London, in October.

In 4th place, Ben Whishaw as Brutus in Julius Caesar, at the Bridge Theatre, London, in March.

In 3rd place, Jude Owusu as Tamburlaine in Tamburlaine the Great, at the Swan Theatre, Stratford-upon-Avon, in September.

In 2nd place, Toby Jones as Stanley in The Birthday Party at the Harold Pinter Theatre, London, in February.

In 1st place, Paapa Essiedu as Hamlet in the RSC’s Hamlet, at the Royal and Derngate, Northampton in March.

Theatre of the Year.

For the fourth year running there’s no change in the Number one theatre but we have a new Number two! Continuing to present an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with RSC’s Royal Shakespeare Theatre/Swan Theatre as runner-up.

Didn’t quite exceed last year’s record number of shows seen but still managed to do quite well with 178 productions in all. Thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2019!

Next is a show that’s had great reviews down under, and I’m sure will be a breath of fresh air. It’s Yummy, at Central @ Assembly Roxy, at 21:40 on Wednesday 22nd. Here’s the blurb: “Yummy, the Melbourne powerhouse of drag, dance, circus, and music, has been serving smash-hit events in numerous festivals across Australia and beyond. Yummy is the winner of Best Production and Best Ensemble (Cabaret) at the 2018 Greenroom Awards and Best Cabaret at Adelaide Fringe Weekly Awards 2018. This critically acclaimed show is directed by James Welsby and features an all-star cast: Karen From Finance, Valerie Hex, Jandruze, Zelia Rose, Hannie Helsden and Benjamin Hancock. Described as ‘a must-see’ ***** (Advertiser, Adelaide, 2018), Yummy is an absurd, fascinating, and outrageous experience.”

By the sound of it, this isn’t going to be full of shy and retiring types – I predict a riot! Check back around 11pm to see how much we enjoyed it. By then the next preview blog should be available to read too.

Yummy is a sensationally colourful and vibrant show, with terrific performers and a huge sense of fun. I particularly enjoyed the girl with the hula hoops! My only criticism is that after a while it becomes just a little samey, I’d have loved a few more comedy numbers or speciality acts. Nevertheless, highly enjoyable!

Our last show of the day could either be fantastic (in a naughty way) or dire. It’s Danger Strip Show, at Piccolo, Assembly George Square Gardens, at midnight on the night of Tuesday 21st. This is the blurb: “The most jaw-dropping, mind-popping, eye-watering experience of this year’s Fringe! With unbridled attitude, this firecracker of a show performs death defying stunts while honouring the world’s oldest artform (striptease) for your entertainment. Risk ass-essment required! Presented by Chaz Royal and The London Burlesque Festival.”

It ought to be superb, but the first time we came to Edinburgh we saw the Chaz Royal Best of Burlesque show and it was the worst burlesque I’ve ever seen! Five years on, we’re giving them the benefit of the doubt – and I am curious to see how they combine the danger aspect with the striptease! Check back around 1.30 am (or maybe tomorrow morning!) to see if we managed to stick with it. By then the next preview blog should be available to read too.

A very satisfying mix of burlesque and the more dangerous circus skills, like fire eating, glass eating, and sticking pins through your skin. Presented with humour and chutzpah, and a very enjoyable way to round off the day.

In these troubled times we can’t have too much political satire and I’m hoping this show is going to overflow with it. It’s Lolly Jones: Fifty Shades of May Downstairs @ Assembly Roxy, at 20:50 on Tuesday 21st. Let’s see what the blurb has to say: “Lolly (BBC Three/Comedy Central) lampoons political figures in this character comedy/burlesque hybrid show. As Theresa May, she will taunt and tease in Brussels and in fields of wheat. Featuring footage of Liam Hourican as Jacob Rees-Mogg (Murder in Successville/Tracey Ullman’s Show). It’s Downing Street on poppers, with a P45, suspenders, and a chunky metal necklace! Also featuring Lolly as Angela Eagle, Arlene Foster (DUP) and as a saucy Nicola Sturgeon. ‘A blast to spend an hour with’ (Scotsman). Top 10 Best Shows of 2017 (Funny Women Awards).”

I’ve never heard of Lolly Jones but her awkward burlesque promo photograph was all I needed to give this show a chance – I reckon it will be either equally awkward or absolutely sensational. Check back around 9.15 pm to see how great (or otherwise) she was. By then the next preview blog should be available to read too.

Hilarious and inventive mix of satire and burlesque. Where else will you find the Prime Minister pleasuring herself with an EU flag? Escapist nonsense that makes the world of politics look not quite so terrifying!

It’s always a pleasure to welcome back those boffins from the Ministry of Burlesque, the sexiest civil servants on two legs. Once a year they administrate their way into the Royal Theatre with a superb selection of comedy, magic and general allure and, for a couple of hours, one’s humdrum day to day life is transported to a world where everything is beautiful. Yes, even for half an hour or so on a Friday evening, you can think of magician Pete Firman as beautiful. At a stretch.

Having enjoyed the sultry pleasures of Miss Lili la Scala hosting last year, this year we were commèred by die schöne Marlene Cheaptrick, also known as the one and only Abigail Collins from Dagenham. Frau Cheaptrick wove a spell of pure Germanic enchantment as she guided us through her box of Teutonic delights. A highlight as always with Abi Collins was her interaction with members of the audience; on Friday night it was young Jamie who got a little hot under the collar as he sat on the stage with Frau Cheaptrick’s kleine Vergnügungsscheide upside down in his face. But he was a gentleman and did not take advantage of her vulnerability, which was just as well as his mum and dad were watching. She also did her manic and fantastic hula hoop act, in which no items of savoury confectionary were harmed. Assisting the lovely Marlene was Mia Merode, whom we have seen on the very same stage performing some stunning Burlesque, here in the slightly less glamorous (but nonetheless vital) role of preparing the stage for the next act. When acts drop feathers, wine, underwear, blood, sweat and tears during the performance of their routines, you can understand how important it is to have someone responsible to clean up; and she does it beautifully.

All the acts appeared twice, once in the first half and once in the second. The Dramatis Personae was almost exactly the same as last year, not that it mattered; this year’s show was notable for the way it really stepped up the humour. Mrs Chrisparkle and I were basically roaring with laughter all the way from start to finish apart from when it was unseemly to do so in front of naked flesh.

We met the delectable Lena Mae, who first appeared covered in a costume made of balloons. These were never going to last, particularly as she also produced a carrot with a prick on the end. A few pricks later and the balloons had burst to reveal her hidden charms. In her second appearance she did a superb, traditional fan dance in an example of pure, classic Burlesque; a fabulous combination of the elegant and the provocative.

Then we met Robin Dale, whom we also saw last year, performing an incredible juggling and balancing act with an open bottle of wine and a couple of glasses. Mr Dale was standing on a table, wine glass on his forehead, another glass in one hand and bottle in the other, ready to bring to life the human wine equivalent of a chocolate fountain, when a woman in the balcony shouted out “Hey Baby!” which almost made him teeter off the top. But he held on and managed it perfectly, so kudos to him. When, in the second half, he is joined by his partner in juggling crime, I still haven’t quite worked out why Mr Dale suddenly becomes one half of Boon and Bailie; but there you are, that’s showbiz I guess. Once again the dapper twosome performed dextrous feats of juggling and balancing whilst slowly removing all their (and each other’s) clobber. They left their hats on, in the best Tom Jones style, but this time Mr Dale’s thong didn’t twang into the audience which must be of some mercy.

Next was a new act – hurrah – the Hot Potato Syncopators! Three elegant 1920s toffs who dish out the raciest, paciest tunes of their day by means of ukulele, a single piece of string tied to a stick of wood, and a saw. They’re dynamite! Huge fun, they really recreate the era with their monocles, plummy accents and inspired choice of music. Decadence on a shoestring, we loved it.

Once again we had the welcome return of magician Pete Firman, and precisely the same three tricks that he performed last year – the ever-growing numbers of cards in the pack, the cutting-a-rope trick, and the signed £20 note revealed zipped up in his wallet. I think I’ve seen these tricks maybe six times now, and I still haven’t got a scooby as to how he does them. As always, his gift of the gab is hilarious, and he really is the most entertaining magician, as he mercilessly rips the p*** out of his audience victims who just love it. This time he had the spangly-dressed Claire on stage to help with the rope trick, with Steve on the £20 notes and Roly on the monkey nuts. Very funny, very intriguing, very clever. I could watch him all night.

We were also treated to two divine and hilarious Burlesque routines from the incredible Miss Betty Blue Eyes. One was a stunningly beautiful appearance in blue which included an arrival in a spaceship, but my favourite was an homage to Liberace where, clad (or otherwise) in the black and white of a piano keyboard, she tucked herself in at a tiny toy piano to play chopsticks. Unsurprisingly, with such a mini stool to perch on, it took Ms Blue Eyes several attempts to get herself comfy, but she pulled it off. You can’t get better than Ms Blue Eyes for milking the humour out of traditional Burlesque!

Our final act was the elegant and Berlinesque Alexandra Hofgartner, whom we have seen here many times before, performing her daring aerial acrobatics with just the aid of two strips of material and some womanly muscle. It’s a circus/variety skill but carried out with true Burlesque style. The audience loved it, as always.

Thus drew another Burlesque Show to its conclusion; it’s always a feast for the eyes and a tonic for your laughter organs. This was a particularly funny reincarnation of the show and everyone was on magnificent form. Can’t wait for next year’s!

Our very last show in Edinburgh this year is Late’n’Live at the Debating Hall @ Gilded Balloon Teviot at 01:00 in the early hours of the morning of Sunday 27th. Let’s read that last blurb: “’Still the best late night show on the Fringe’ (Scotsman) is back for its 31st year! Different shows every night, but always the same recipe: one hilarious compere, four amazing acts, one incredible band, two hours of dancing and a whole lot of fun… Leave to simmer from 1am–5am and you’ve got yourself ‘the celebrated comedy abattoir that has slain a thousand comics’ (Scotsman). Comperes will include Scott Gibson, John Hastings and many other top names.”

I really can’t see us staying up till 5am. However, I’m sure some people will! We’ll just stay for the one hilarious compere and four amazing acts, whoever they are. Check back sometime after 3 am (or preferably on Sunday morning, or later) to see whether we survived.

If you’ve been following our reckless pursuit of entertainment over the past eight days, thanks very much for your loyalty! If not, I can’t blame you. Normal service will be resumed as soon as possible!

And we fell at the final hurdle. We already thought that this was going to be A Show Too Far, and so it proved. So rather than watching this show, we’ve treated ourselves to a bottle of shiraz in the hotel bar. Rather a quiet way to end our Fringe week, but the quality has been outstanding. Hope you had fun too!

And now, as they used to say, it’s time for something completely different. It’s Sweatshop at Palais du Variete @ Assembly George Square Gardens at 22:00 on Thursday 24th. Here’s the blurb: “Briefs Factory present a late-night extravaganza, Sweatshop, hosted by the impeccably coiffed master crooner Mikelangelo. Grab yourself a knock-off drink and clock into the Sweatshop. Experience the production line of cabaret, circus and party tricks manufactured in difficult and dangerous working conditions before your eyes, featuring the Briefs Factory workers. This is a sweaty, uncompromising performance, brought to you by the team that brought you Briefs and Hot Brown Honey. Violate your senses. Dance it out.”

I’m expecting “extreme”. Extreme comedy, extreme circus, extreme burlesque. Apart from that, your guess is as good as mine. I’ve seen some of Mikelangelo’s videos on Youtube, and I confess I’m a little worried. Check back around 11.30 pm to see if my concerns were justified. By then the next preview blog should be available to read too.

Some of the audience reviews for this show were negative and said this was tasteless. I can only say, they didn’t get the joke. I thought this was a brilliant array of acts, including the gorgeous Lada Redstar who brought politics into burlesque in a way I had not expected. There was also a hilarious hoop act to the soundtrack of Popcorn – and there’s a good reason for that – the chicken demolishing Gingzilla and the unforgettable Betty Grumble. She’s not called International Sex Clown for nothing, and she displays a lack of inhibition that’s second to none!